QTR-Quadtone RIP

Everytime I create a new ink profile I learn a lot more about how to  
optimize my output.

I am using QTR 2.4.2b on a MacOSX and printing to a 7600 with  
Piezotone Museum Black with Carbon Sepia and Selenium grey ink sets.  
I am using Museum Black for the black, Carbon Sepia for the dark  
grey, Carbon Sepia for the Mid Grey and Selenium for the light grey  
to create a split tone. I am using BOOSTK to maximize the density.

In previous curves I have relied upon the LINEARIZE function to  
linearize the output but I have traditionally had problems with there  
being a harsh transition between 95 and 100% K even without the  
BOOSTK and various combinations of GREYOVERLAP.

This time I thought I would experiment with creating a .acv curve in  
Photoshop and specifying it with the GREYCURVE function.This really  
allowed me to get very near the ideal densities recommended by Roy.  
One thing I really noticed this time is that I had to let the prints  
dry for about 10 minutes to get accurate readings as the dark  
densities read significantly lighter initially out of the printer and  
dried down as much as .06 in the 100% K patch.

I am using an XRite 810 denistometer to read values.

When I had done a fine job with the curve I thought I would do the  
final tweak with the LINEARIZE function to perfect the curve.  
However, with the Linearization values plugged in everything was  
great, exactly matching the Ideal densities until I got above 5%  
which went solid white.

I have never been totally clear on how to set the values of the  
linearization readings. I.e. should the 0% patch read .06, the  
density of the HPR paper I am using, or should I subtract .06 from  
every value to adjust them making paper white equal .00?

I tried it both ways but I got the same effect, the very high hi- 
lites suddenly drop to white.

I commented out the LINEARIZE function and just tweaked the .acv file  
just a bit more and am getting really nice results but the disconnect  
is frustrating to me and I really want to understand what is going on  
here.

By the way, the split tone prints look a little too cool in the hi- 
lites when unfinished, but as some of you know I varnish my prints  
with Golden Archival Spray varnish and the warmth this adds to the  
prints evens out the difference in tones and the results are stunning  
for the portrait work I do.

I have been able to achieve a much darker black than previous  
attempts (1.68) with really smooth shadow transitions, and the  
coolness in the hi-lites in combination of the darker black raises  
the luminance of the light values and creates really glowing prints.

James Haney
www.lightcatcherphoto.com